genie poretzkylee

sculpture

I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.

Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.

These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.

For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.

genie poretzkylee

sculpture

I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.

Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.

These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.

For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.

genie poretzkylee

sculpture

I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.

Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.

These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.

For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.

genie poretzkylee

sculpture

I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.

Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.

These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.

For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.

genie poretzkylee

sculpture

I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.

Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.

These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.

For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.

genie poretzkylee

sculpture

I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.

Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.

These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.

For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.

genie poretzkylee

sculpture

I graduated from the Academie Julian in Paris in 1959 and later moved from France to the UK where I now permanently reside. Traveling throughout Europe, the Americas and India have provided opportunities to expand my practice, researching and studying painting, sculpture, dance, music and textiles. My work has been exhibited in the UK and is represented in museums abroad and in private collections. I am also the founder of the Lotus Foundation, a charity set up to explore experimentation in arts practice.

Like Mario Merz, I envision the role of the contemporary artist is that of a nomad who resists stylistic uniformity and mediates between nature and culture. My work reflects an on-going exploration into the essence of nature and mysticism, represented through drawings, hand-made books that become objects and sculpture made out of a wide range of foraged and found materials including wood, rope, bone, china and stone, disparate materials that have already existed in another form weaving an invisible thread from the ancestors of the past to the present.

These sculptures are called Assemblages and are an offering to the nature of things, auspicious omens operating beyond our structures of awareness, interlocking objects that connect the past with the present, movement with transition, softness and hardness. The found objects hold layers of multiple histories, stories from the ancestors that extend forward as well as backward. Intertwined within the work is the Japanese concept of Wabi Sabi, an aesthetic centred on the acceptance of transience, where beauty is seen as imperfect, impermanent and incomplete.

For me the Assemblages are always in motion, open-ended with the possibility of continuance in their various shapes and form. At the point where the materials from the past meet the present a temporary resting place is carved out offering up opportunities to expand the viewerâ€™s awareness of the notion of time, and space. In making the assemblages I am not creating solutions for the chaos and the flux that we exist in but rather suggest moments for pause, for reflection and re-evaluation in which the work becomes a shared experience, where the possibility of contemplation and silence is possible.